Every staged version of Hamlet is edited. Posterity left us two “authentic” written versions of William Shakespeare’s masterpiece, as well as a poorly transcribed but…
View More [podcast] Cutting Hamlet: Director Dan Hodge on adapting Shakespeare’s masterpiece for the stage
Henrik Eger talked to the founder of Dance Affiliates about the inner workings of the international dance scene in these more economically strapped times.
View More “IT ONLY GETS HARDER”: Randy Swartz on the dance scene in economically strapped times
The wacky parents of THE ADDAMS FAMILY at the Media Theatre share the joys and difficulties of juggling two lead roles in their lives.
View More “My busy, wacky, wonderful life”: Parents on stage and off stage, THE ADDAMS FAMILY (Media Theatre)
Philadelphia audiences are still buzzing about Dan Hodge’s performance of Shakespeare’s The Rape of Lucrece. Henrik Eger interviews him about the play.
View More One of the oldest taboos in history: Interview with Dan Hodge on The Rape of Lucrece
I asked cast members of the Idiopathic Ridiculopathy Consortium (IRC), Philadelphia’s absurdist theatre (since 2006), founded by artistic director Tina Brock, what Ionesco’s RHINOCEROS brought up for them as actors and as people. The range of responses is as astounding as this production. A big thank you to everyone who participated in this Phindie interview.
View More Give the rhinos a chance: Interview with the actors of Ionesco’s RHINOCEROS
Tina Brock, writer, actor, founder and producing artistic director of the Idiopathic Ridiculopathy Consortium (IRC) since 2006—Philadelphia’s only absurdist theatre company—holds degrees from the University of Maryland and West Chester University, works as a Standardized Patient Trainer at the National Board of Osteopathic Medical Examiners, and makes the impossible possible, year after year, with some of the most thought provoking and unusual productions.
View More On becoming a RHINOCEROS: Interview with director Tina Brock
I asked Tuomanen, who directed the piece, to talk about The Body Lautrec. On extremely short notice, she agreed (“Aaron called me, said someone was upset about Lautrec and you wanted to ask me some questions.”) We talk about filth, exploitation, agency, and other uplifting stuff.
View More Nudity or Crudity: a conversation with Mary Tuomanen about THE BODY LAUTREC
In this special Phindie feature, Chris interviews Doug about safe spaces, role-playing, and the playwriting process.
View More Playwright to playwright: Douglas Williams (Safe Space) interviewed by Chris Davis (Anna K)
Every fan of the Philadelphia Fringe Festival has seen Josh McIlvain’s work—even if they haven’t seen his theatrical work. For the past few years Josh has…
View More Fringe interview: Josh McIlvain on SLIDESHOWs and editing the Fringe Guide
Now in its 18th year, the Philadelphia Fringe Festival has changed a lot since its early days. Once a small weeklong Old City event, with…
View More Fringe interview with Michelle Pauls: LIVING IN EXILE and the early days of the Fringe
Some contemporary choreographers prefer not to explain, in concrete terms, what they intend their choreography to mean, but Trajal Harrell is happy not only to talk about his dance works, but also his creative process. In a phone interview from Berlin earlier this month, Harrell delved into the various aspects of his dance-theater opus Antigone Sr. / Twenty Looks or Paris is Burning at the Judson Church (L), before its opening as one of the centerpiece shows at 2014 FringeArts.
View More Fringe preview: Trajal Harrell brings Greek theater ‘Realness’
Phindie spoke to Colie McClellan about her Fringe show THEY CALL ME ARETHUSA, a story of intimate partner violence interweaved with Greek mythology and Southern folklore.
View More Fringe interview with Colie McClellan of THEY CALL ME ARETHUSA
Two groundbreaking plays in the history of queer theater–Lillian Hellman’s THE CHILDREN’S HOUR and Mart Crowley’s THE BOYS IN THE BAND—will be presented in the format of staged readings over the next two weekends by Mauckingbird Theatre Company.
View More Mauckingbird Presents Staged Readings of Two Gay Milestones
Phindie dance writer Katelyn Bobek spoke with New York City based choreographer John Ollom about his work and a new series of classes in Philadelphia.
View More About, or in, the Liminal Space: John Ollom at 954 Dance Movement Collective
Perennial Fringe favorite Brian Sanders and his dare-devil dance company JUNK have created a provocative new offering for this year’s Festival. Described as a journey…
View More Talking Sex, Substance, and SUSPENDED with Brian Sanders
Philadelphia artist and choreographer Gunnar Montana is no stranger to the Fringe Festival. Since his show ‘RUB’ debuted in 2012, the seriously experimental Montana has…
View More Gunnar Montana rises: Interview with the experimental Fringe stalwart about his show RESURRECTION ROOM
The issue of diversity in theater (and in theater reviewing) is an ongoing subject of conversation. Kash Goins isn’t just talking about it. His GoKash…
View More Rhythm, race, and energy: Interview with Ozzie Jones on the first African American production of DEATH OF A SALESMAN in Philadelphia
They have a name for former LDS in Utah: Jack Mormons. You can leave the Mormon church, but the Mormon upbringing will never leave you.…
View More From Mormon Boy to Rent Boy: Interview with solo performer Steven Fales
Katelyn Behrman’s three-part series on the Walnut Street Theatre concludes with a consideration of the Walnut’s place in the changing landscape of Philadelphia theater.
View More Walnut Street Theatre: Part 3, The Changing Shape of Philadelphia Theater
Robert Patrick, born into a migrant worker’s family in 1937, wrote many plays, songs, poems and stories. According to the Samuel French script company, he was the most produced playwright in New York City in the 1970s. His two most famous plays are Haunted Host and Kennedy’s Children. He currently lives in L.A. and earns a living writing porn reviews.
View More “What doesn’t kill me makes a great story later”: Interview with Robert Patrick on the birth of Off-Off-Broadway and 50 years of gay theater in America